"The Legacy of Black Queer Elders: Lena Waithe and Darnell Moore's Journey"

In the heart of Los Angeles, the office of Lena Waithe features an image of Lorraine Hansberry, a pioneering Black queer playwright. Hansberry's work, "A Raisin In The Sun," made history as the first play by a Black woman to grace Broadway. This image is not just decor; it is a reminder for Waithe to ensure diverse perspectives are always included in her projects.

Lena Waithe, sharing her name with the play's character Lena Younger and hailing from Chicago like Hansberry, draws inspiration from such icons. "That photo is there to remind me that it’s vital to include everyone’s viewpoint," Waithe explained.

Hansberry's legacy continues to inspire modern artists like Waithe and her contemporary, Darnell Moore, who are passionate about carrying forward the torch of freedom and expression laid down by twentieth-century Black queer writers such as James Baldwin and Nikki Giovanni.

Now in their 40s, Waithe and Moore are stepping into the role of community elders. "It’s an honor and a significant responsibility," Waithe expressed. "Being an elder is about action and embodying the nurturing qualities we admire." Moore added, "To me, being an elder means caring for others, being available, and living a life that contributes positively to the world."

Both artists deeply understand and appreciate the legacy they are part of. Waithe frequently reads works by Baldwin, Giovanni, and Hansberry. "They left breadcrumbs for us," she said. "Baldwin has provided guidance in my moments of doubt through his words. He knew we would need his wisdom after he was gone."

Moore shared, "Our actions, the work we put into the world, and the kindness we show can be a lifeline for others." Creating impactful art that endures over time is a driving force for both Waithe, known for "Master of None," "The Chi," and "Twenties," and Moore, whose memoir "No Ashes In The Fire: Coming of Age Black & Free in America" has touched many lives.

Moore also lamented the loss of a generation of potential mentors due to the AIDS epidemic. "I missed the chance to learn from those who could have guided me," he said, recalling how close he was geographically to Joseph Beam, yet never met him. The surviving Black feminists in his life provided the foundation and language he needed for liberation.

These experiences have woven a rich tapestry for Waithe and Moore, fostering a deep kinship and community among them. They first connected during the pandemic, sparking ongoing conversations and collaboration.

"Meeting Moore was like finding a kindred spirit," Waithe remarked. "We bonded over shared values and a common vision for the future. We aim to learn from younger generations rather than lecture them." Moore echoed this sentiment, "I want to be remembered for bringing joy and care to others around me."

Their visibility and contributions in the arts are why Waithe believes "the ancestors are dancing." She contemplates the lasting impact of Hansberry's work, which encourages introspection and diverse visions for the future. Her identity as a Black queer woman challenges societal norms within the entertainment industry.

Waithe noted, "To some, I might seem unique, but within my community, my identity is familiar. My queerness is visible and undeniable." Embracing her authentic self was essential for Waithe before stepping into her new role as an elder.

"We need to shine despite misunderstanding from society and even within our community," Waithe concluded. "Our queer community has taught us to be comfortable with ourselves even if others are not."

By sharing their stories and experiences, Waithe and Moore illuminate a path for future generations, ensuring that the rich legacy of Black queer leadership and artistry continues to thrive.